Two class A mic preamps and DI's drive two ELOP and two FET fast “brick wall” limiters to tame any tone one might throw at it. THE SLAM! it's full of tubes, transformers, technology and gimmicks. Get in and do LOUD .

TO KNOCK! stands for "Stereo Limiter And Micpre" and basically describes what it will do with most VU meters. We had to put a switch on this limiter to lower its internal VU meters by 3 and 6dB to keep the poor needles from bending - it will get LOUD quickly (hence the exclamation mark). And besides being an incredible pair of (actually four) Class A tube microphone preamps and limiters, he also has a master's degree in DI, VU, and PPM, but that was too much for an acronym.

When it comes to classic gear, especially classic limiters, we can all agree that numbers like LA2s, 1176s, 2264s and others come to mind. What if all of these sounds were found in a stereo tube unit? Interested? We combined our favorite electro-optical circuit (ELOP®) with an extremely fast FET-based brick wall limiter reminiscent of some cool classics. And we've added a sidechain filter that can remove low frequencies, which makes it more useful for a variety of tasks while maintaining that easy "it just works" quality that has made it a favorite for vocals everywhere. The FET-based limiter has different desirable characteristics that optimize the signal for digital recording, due to the brick wall capability, and allow you to adjust how clean, crunchy, or punchy, and how loud and proud you want it.

ENTER: THE SLAM! It starts with tube mic preamps on both channels with selectable phase reversal, high-pass filter, and selectable phantom power (on the rear panel).

We've got plenty of gain for you in this new tube circuit, up to 60dB with an extra 20dB in the limiter – plenty for smooth singers using low-output ribbon mics. The input attenuator is right at the front, like a variable pad, so your loud rock 'n' roll won't cause any problems either. Track directly with Direct Instrument input or bring your line-level inputs to SLAM! For processing. The DI inputs have selectable input impedance depending on how far you plug the 1/4" cable into the connector: push it all the way and the input impedance will be 100KOhms, pull it halfway and it will become 10 megOhms, which reduces the pickup load and allows all the high moments to pass through!

Listen loud... two different and distinct limiters per channel:

THE ELOP® LIMITER: Our beloved electro-optical leveling amplifier circuit, the ELOP®, still a favorite for vocal tracking, appears here with its new switchable side-chain high-pass filter, making it much more useful for mixing and other tracks too. One of the most appreciated aspects of our original ELOP® is the simplicity of a two-button limiter, ideal for demanding professional recording pressures. You can even grab two knobs and have complete control of level and dynamics and be ready to hit the record button. Intuitive controls and a direct signal path through quality components just work. The implementation of the ELOP® limiter is done as we did in our VOXBOX®, which pioneered the idea of ​​limiting the microphone signal before it reaches any active stage. The ELOP limiter goes to the line stage when LINE is selected. The ELOP side chain provides different HP filters in a toggle. The 200Hz setting has been adapted for vocals and adds a touch of de-essing.

THE FET LIMITER: Here is a new fast FET-based "brick wall" limiter that covers the clean, predictable limiting range down to the grunge and grit that other FET-based limiters are desired for. The FET RELEASE control allows you to select a variety of colors. There's even a "CLIP" setting that provides the roundest shape ever available. (Read more below about CLIP settings.) Our goal first was "sound," then we experimented with circuits until we heard what we wanted, discovering new approaches that provide a wide range of useful dynamic controls. For example, you can set up a fast brick wall limiter with slower releases for minimal artifacts, or opt for faster releases to get a little crunch and then get extreme volume. The Attack control is also unusual, providing the sonic control common with its historic brethren, but very unusually maintaining the “no one must pass” zero overshoot brick wall that defines a real limiter. And it's strong! As the saying goes: “Higher is better”. THE SLAM! optimizes levels for analog to digital converters with ballz, warmth and volume bordering on silly or just clean and safe.

What's especially cool is the ability to use the ELOP® and FET limiters together at the same time, adjusting the desired amounts of each effect. Each limiter has its own character or sound and here we have combined two world-class powerful tools that can be uniquely combined and mixed according to taste and purpose. Even the metering is appropriate for each limiter, so you can easily see how each one is contributing.

Measurement in SLAM! is exceptional. The two full-size VU meters display raw input levels, final output levels, and ELOP® Limiter gain reduction in the format traditionally preferred for visually displaying apparent loudness. VUs are cool. Realizing how mastering engineers often need a switchable pad on their VUs because "optimized" levels tend to leave the needles in the red, SLAM! The VUs also have a 0, -3dB, -6dB switch to help in this situation. There are also very fast and super accurate multicolor LED ladder peak meters that display input and output levels and FET gain reduction, and some combinations. They'll do Peak, Timed Peak Hold, and Peak Hold until reset, and they'll also let you manually set where the individual bars change color to match your other gear. And with maximum clean I/O levels of +30 dBu, you're much more likely to use these meters to see what's cutting downstream. It probably won't be Manley tube line drivers inside!

The back panel should make everyone happy. In the sea of ​​connectors, including the large power supply connector, you will find all the usual XLRs for transformer-balanced I/O and 1/4" telephone connectors for direct unbalanced I/O. Eight Bantam connectors on one handle from mini-patchbay configuration to side chain inserts and link functions You can insert EQs into the ELOP® and FET limiters, and there are more connectors for mixing an external signal into the side chains. .

Speaking of Linking...all previous Manley dynamic units require both channels to be set to nearly identical settings, rather than the more common "just set the left side". THE SLAM! allows you to do it both ways. The "L Side" method is the "STEREO LINK" mode and is quick and convenient, but like others, it uses a mono mix for the side-chain. The "BOTH & EXT" adds the rear panel link connectors to the link bus so you can daisy chain multiple SLAMs! Both or all 6 channels must be configured similarly. This mode is generally better for mastering, as it responds to the true peak level of the channels rather than an artificial mono mix.

Outside the Box, this is where the power supply is located. The illuminated power switch turns on the external power supply. Keeping the power supply away also keeps heat and additional magnetic fields away from the precious audio. The power supply is housed in a rugged 7" x 4" x 5" die-cast aluminum case that is easy to mount or place in the bottom of a rack. A massive 16-pin connector and 6' multicore cable connect both boxes.

THE SLAM! it also feels natural as a mastering tool. The FET limiter works great in mixes, and the ELOP® now has a high-pass filter switch ideal for mastering. We offer a dedicated mastering version that eliminates the mic preamps, adds hold controls replacing potentiometers, and provides extra metering options. Manley compressors and EQs seem to be the most popular pieces of equipment of all time when it comes to mastering. The ultimate analog rack for those important finishing touches to mixing would include SLAM!, The Variable Mu®, and The Massive Passive. Combine this with some digital processors of similar caliber and you have a respectable and very effective set of mastering tools. That Manley rack plus a few Manley microphones would also make a definitive stereo recording chain. This is a piece of equipment you will want to keep for a lifetime.